Guillaume Dufay

Guillaume Dufay was the first great composer of the Renaissance, a time period that produced a plethora of great composers.  He was born near Brussels in the 1390s and lived to 1474; he died a distinguished Canon of Cambrai Cathedral, arguably the second most prestigious cathedral of the French cultural sphere after Notre Dame in Paris.  He probably established the pattern, lasting for over a century, of great Franco-Flemish composers traveling South to become leading musicians in the Courts of Italy and Spain, especially in the Papal Chapel in Rome. 

Dufay is listed as a choirboy in the Cathedral archives at Cambrai in 1409, then as a clerk in 1413.  Next (1420) we hear of him in the service of Carlo Malatesta, Lord of Rimini and Pesaro in NE Italy, where he famously wrote the motet, “Vasilissa ergo gaude”, for the wedding of Cleofe Malatesta and Theodoros Palaiologos, the son of the of the Byzantine Emperor.  In 1427 we find him back in Cambrai as Deacon at St. Géry Collegiate Church, and the very next year he was back in Italy, a member of the Papal Chapel.  In 1434 a leave of absence from Rome places Dufay as Chaplain and Chapelmaster to Amadeus VIII, Duke of Savoy, at Chambéry.  (The Pope himself, Eugenius IV, left Rome due to the agitations of the anti-Pope factions).  Dufay reunited with the Papal Chapel in Florence where he wrote his monumental motet, “Nuper rosarum flores” for the consecration of the Cathedral by Eugenius IV in 1436.  In September of that year Eugenius granted Dufay a Canonate and Prebend at Cambrai Cathedral.  The appointment was confirmed by the Chapter in November. 

Dufay held this position, which brought him back to Northern France, for the rest of his life.  In 1442 he succeeded Nicholas Grenon, his old choirmaster, as Master of the Petit Vicaires, in charge of the 35 Cathedral singers.  Proof of his acceptance as a member of the Cathedral Chapter was his appointment as Wine Cellar Master in 1447.  There were various leaves of absence, especially to the Courts of Savoy and Burgundy, during his tenure as Chapelmaster at Cambrai, which finally ended in 1464 around age 70.  In July 1474 Dufay’s Will requested that the Choir sing his motet, “Ave Regina coelorum” at his death bed.  He died in November.

Ave Regina coelorum

 

 

Guillaume Dufay _Ave Regina coelorum_

by Concentus Musicus MN, Arthur Maud, dir. | 'Dufay/Josquin' 1987

Je me complains

 

 

Guillaume Dufay _Je me complains_

by Concentus Musicus MN, Arthur Maud, dir. | Chamber Consort 'Pastyme' 1976, Nancy Cox, Mary Earl - soprano

La belle se siet

 

 

Guillaume Dufay _La belle se siet_

by Concentus Musicus MN, Arthur Maud, dir. | Chamber Consort 'Pastyme' 1976, Nancy Cox, Mary Earl - soprano

Lamentatio Sancte Matris

The Feast of the Pheasant presented by Philip, Duke of Burgundy, in Lille, February 17, 1454 was organized ostensibly to mount a crusade to retake the City of Constantinople, which had fallen to the Ottoman Empire in May of the previous year.  This lament by Dufay was part of the “entertainment” at the Feast, but, although intensely moving in its use of the Maundy Lamentations, it apparently failed to move the assembled nobility and the City remains Istanbul to this day.

 

Guillaume Dufay _Lamentatio Sancte Matris_

by Concentus Musicus MN, Arthur Maud, dir. | 'Fountain' 1978,

Ma belle dame souveraine

 

 

Guillaume Dufay "Ma belle dame souveraine"

by Concentus Musicus MN, Arthur Maud, dir. | Chamber Consort 'Pastyme' 1976, Nancy Cox, Mary Earl - soprano

Missa L’homme armé – Kyrie

 

 

Guillaume Dufay - Missa L'homme armé - Kyrie

by Concentus Musicus MN, Arthur Maud, dir. | 'Trades' 1982

Missa L’homme armé – Sanctus

 

 

Guillaume Dufay - Missa L'homme armé - Sanctus

by Concentus Musicus MN, Arthur Maud, dir. | 'Trades' 1982

Missa L’homme armé – Agnus Dei

 

 

Guillaume Dufay - Missa L'homme armé - Agnus Dei

by Concentus Musicus MN, Arthur Maud, dir. | 'Dufay/Josquin' 1987

Nuper rosarum flores – Terribilis est locutus iste

Passion Sunday, March 25, 1436, Pope Eugenius IV consecrated S. Maria del Fiore, the Cathedral in Florence.  According to Manetti’s description of the event the Pope consecrated the “Golden Rose” and placed it on the high altar and Dufay’s motet was sung with “An army of musicians – trumpets, recorders, strings in various parts of the Duomo”

The cantus firmus is based on the  Graduale Romanum Introit for Consecration, “Terribilis est locutus iste” (“How dreadful is this place”).  The motet is in four sections.  In each section two tenors sing the first phrase of the Introit in canon at the 5th, each time in a different rhythmic proportion.

 

Guillaume Dufay "Nuper rosarum flores"

by Concentus Musicus MN, Arthur Maud, dir. | 'Monuments' 1990, Mary Terese de Martinez - soprano, Bradley Kolstad - tenor

Par droit je puis

 

Guillaume Dufay "Par droit je puis"

by Concentus Musicus MN, Arthur Maud, dir. | Chamber Consort 'Pastyme' 1976, Nancy Cox, Mary Earl - soprano

Se jour de l’an

 

Guillaume Dufay "Se jour de l'an"

by Concentus Musicus MN, Arthur Maud, dir. | 'Food of Love' 1988, Goeffrey Boers - countertenor

Se la face ay pale

 

Guillaume Dufay "Se la face ay pale"

by Concentus Musicus MN, Arthur Maud, dir. | 'Pastyme' 1976, Nancy Cox - soprano

Vasillissa ergo gaude

 

Guillaume Dufay "Vasillissa ergo gaude"

by Concentus Musicus MN, Arthur Maud, dir. | 'Despotism' 1984, Gregory and Joseph Tambornino - countertenor

Vergine bella

 

Guillaume Dufay "Vergine bella"

by Concentus Musicus MN, Arthur Maud, dir. | 'Fountain' 1978 Mary Earl - soprano